Berruguete, Pedro – Auto de Fe presidido por Santo Domingo de Guzmán Part 2 Prado Museum

The composition presents a densely populated scene unfolding within a structured, theatrical setting. A raised platform dominates the upper portion of the canvas, occupied by figures in elaborate ecclesiastical robes and formal attire. These individuals appear to be presiding over an event taking place below, their expressions ranging from solemnity to detached observation. Above them, a large canopy provides shade, emphasizing their elevated status and authority.
Below this stage-like structure, a chaotic assembly is depicted. Soldiers clad in armor are actively engaged with a group of people who appear to be victims or condemned individuals. Some are stripped bare, bound, or otherwise restrained. The artist has rendered the soldiers’ actions with a stark realism, conveying a sense of brutality and power dynamics. A horse stands prominently near the center foreground, further reinforcing the military presence and suggesting an element of control and dominance.
The background is characterized by a stormy sky, painted in muted tones that contribute to the overall atmosphere of tension and foreboding. The darkness surrounding the scene creates a sense of enclosure, drawing attention to the central action. A scattering of objects – what appear to be discarded possessions or instruments of torture – litter the ground near the condemned individuals, adding another layer of visual complexity and hinting at suffering.
The painting’s subtexts revolve around themes of religious authority, justice, and persecution. The elaborate ceremony on the platform suggests a formal process, likely intended to legitimize the actions occurring below. However, the stark contrast between the dignified figures above and the brutal scene unfolding beneath them raises questions about the nature of this “justice.” The depiction of nakedness and vulnerability among those being subjected to what appears to be punishment evokes empathy and invites contemplation on the human cost of ideological conflict.
The artist’s choice to portray such a disturbing event with meticulous detail, combined with the theatrical staging, suggests a commentary on the power structures and potential for abuse inherent within religious institutions or legal systems. The overall effect is one of unsettling realism, prompting viewers to confront uncomfortable truths about societal hierarchies and the consequences of unwavering belief.